Harry Potter and the Deathly Hallows: Part 1 (2010)
146 min|Adventure, Family, Fantasy|19 Nov 2010
7.7Rating: 7.7 / 10 from 652,766 usersMetascore: 65
Harry Potter is tasked with the dangerous and seemingly impossible task of locating and destroying Voldemort's remaining Horcruxes. Harry must rely on Ron and Hermione more than ever, but dark forces threaten to tear them apart.

Dalam seri akhir bagian pertama ini, dikisahkan Harry Potter terus diburu oleh Voldermort dan pengikutnya. Harry mendapat perlindungan dari rekan-rekannya, namun tetap saja mereka pontang-panting untuk bisa lepas dari kejaran death eaters. Dalam sebuah momen, Harry bersama Ron dan Hermione terpisah dari rekan-rekan mereka. Mereka bertiga tidak hanya harus lari dan bersembunyi namun juga mencari Hocrux tersisa yang telah dikisahkan pada seri sebelumnya.

Tidak seperti seri sebelumnya, kisah filmnya kali ini dipecah menjadi dua volume bersumber dari novel seri terakhirnya. Bisa jadi ini yang menyebabkan kisah filmnya kali ini lebih rinci serta lambat temponya. Seperempat awal filmnya seolah menjanjikan sebuah kisah yang sangat seru dan menegangkan namun nyatanya tigaperempat sisanya hanya menyajikan cerita yang cenderung membosankan dengan sedikit aksi. Untuk pertama kalinya pula Harry, Ron, dan Harmione tampil begitu dominan dengan wajah yang selalu murung, gelisah, dan sedih sepanjang filmnya. Sisi emosional tiga tokoh ini lebih banyak ditampilkan yang menunjukkan kematangan akting tiga bintang remaja ini. Fokus cerita memang ada pada tiga karakter ini sementara perkembangan peristiwa, aksi, serta kejadian penting (baca:seru) di tempat lain termasuk Hogwarts sama sekali tidak diperlihatkan. Apa mau dikata jika cerita aslinya memang seperti ini tapi apa memang separuh awal novelnya juga “membosankan” seperti filmnya ini? Entahlah.

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Tidak seperti seri sebelumnya untuk pertama kalinya Hogwarts tidak ditampilkan dalam filmnya. Memang ganjil rasanya. Keindahan setting studio seperti seri-seri sebelumnya yang menjadi kekuatan seri Harry Potter nyaris tidak tampak sama sekali. Film ini sepertinya justru lebih banyak menggunakan shot on location, di kota London, pantai, hutan, bukit, dan lainnya. Namun begitu David Yates seperti dua seri sebelumnya patut diacungi jempol karena mampu mempertahankan pencapaian estetiknya dari sisi manapun (kecuali plotnya tentu). Yates juga mulai bereksperimen dengan teknik baru seperti “handheld camera” dalam beberapa shot. (“hei kameranya goyang!”, saya sempat berteriak kecil karena kaget). Agak ganjil memang karena sebelumnya kita tidak pernah melihat satu shot pun “goyang” namun rasanya teknik ini cocok dengan perkembangan cerita yang suram serta semakin tak menentu.

Harry Potter and The Deathly Hallows Part 1 memang bukan seri yang terbaik dari seri Potter yang pernah dibuat, namun film ini memang harus ada sebagai “pembuka”. Tidak seperti seri-seri sebelumnya, film ini menampilkan sedikit aksi dan banyak menampilkan sisi emosional, dominan pada tiga tokoh utama, tanpa Hogwarts, lalu banyak hal yang masih tak jelas, serta tanpa resolusi. Hal kebalikannya pasti terdapat pada film finalnya kelak. Para penonton harus bersabar beberapa bulan lagi untuk menikmati akhir dari saga panjang ini.

PENILAIAN KAMI
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80 %
Artikel SebelumnyaRed, Melihat Aksi Para Aktor Gaek
Artikel Berikutnya45 Tahun Gerakan 30 September, Menonton Lagi Film Itu
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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